News Flash! Australian Videocamera is dead. (Sort of). Long Live CreativeContent!

Australian Videocamera is about to change! As of January 1st, we will become Creative Content at

Here’s why… and it needs a bit of history to explain.

In December 2006 the magazine Videocamera, of which I was the Editor, abruptly closed.
Even I didn’t know this was going to happen – a subscriber who tried to renew found out and told me.

I was suddenly out of a job. Major bummer (as would be said in “The Young Ones”.)

In April of the following year, after lots of research in the art of physical publishing and all the necessary things that went with it that I had never been privy to, or even needed to know, I launched Australian Camcorder as a paper-based magazine, available on subscription and through news agencies, along with a supporting website.

Over the years there have been changes, the biggest being renamed as Australian Videocamera.

But time catches up, and Australian Videocamera, by name, now doesn’t reflect exactly what we do in terms of content. No longer do we just review video cameras!

There are editing systems to explore, motion graphics and special effects, audio, lighting, accessories and 3D simulation and animation programs to look at. Not to mention Action Cameras, 360º imaging, and of course drones. And in the new mix is photography with Photoshop, Lightroom and lots of still cameras. And anything else that goes into being a part of what makes “content”.

On top of that, we have become a sort of de-facto mouthpiece for the industry with it using us, to tell you, its customers, what the video, film and photography world is doing.

It is time for a change. And that change is Creative Content, our new website and a brand-new e-magazine to come.

This old Australian Videocamera website will be retained as an archive in a basic form and searchable. There are thousands of stories, reviews, tutorials, case studies and so on here, and that is far too valuable to let go.

But the new website will draw on all past experiences and be even better! And of course, I value everyone’s ideas and input to make it the best it can be!

Thank you so much for hopefully visiting and becoming a part of the latest journey!

So, come and visit us at

home page screen shot

The site is of course evolving as we build it, and all comments, suggestions and ideas – and criticisms are welcome. Just let me know via

DaVinci Resolve Now Available for the iPad in Australia from Today.

The long-awaited DaVinci Resolve video editing program is now available from the Apple app store in Australia.

DaVinci Resolve for the iPad allows creators to extend video workflows in new ways and new places. Optimized for MultiTouch technology and Apple Pencil, DaVinci Resolve for iPad features support for cut and color pages providing access to DaVinci’s award winning image technology, colour finishing tools and latest HDR workflows.

You can read more on the actual app here.


Review: Swann AllSecure650™ 2K Wireless Security Kit

This is not a camera story per se, but I bring this up as many folk who read Australian Videocamera do have a fair amount of expensive gadgetry and other stuff in the homes and home offices / studios etc.

Over the last few weeks, the local Constabulary has been advising us locally that there has been an swathe of attempted car thefts and nickin’ of stuff from unlocked cars that are not garaged and secured.

My Monaro is safely tucked to bed each night inside the locked garage, but the other car is kept parked out the front. The one drawback with the garage however, is at the back it is open to the world and there is a LOT of stuff in there, plus there would be easy access to the back shed containing the current build of the Hornby HO model railway that will one day get completed.

Sure, we have Dougie the Doggy, but he is inside at night so not much use there, I fear.

I have mentioned in the past that I have in place a number of Swann stand alone security cameras that sense movement via infra-red. Now these are all well and good inside the house, but outside is a different story. They record to internal memory you see, so unless you take the option of also recording to the Cloud, if one of the Beagle Boys actually sees it and simply trousers it, then it becomes of little use.

So, I decided to chat to Swann about an upgraded system that would fit the bill.

They came back with a suggestion of the AllSecure650 2K Wireless Kit, and after checking the specs and ease of install, that is the way I went.

The major advantages to me are the wireless aspect and the fact it records to a base station.

Let me explain. A lot of security systems use BNC cabling to get the video and audio signals back to a recording device, which really is nothing more than a glorified DVD player using a hard disk as against DVD discs. Smarter units use Ethernet cables in the same way you might connect a printer to a router, or indeed, even your router to the modem.

This means that you must manually lay cables between cameras and the base station (recorder) and this usually entails crawling through rooof spaces and drilling holes etc – or paying a licenced contractor to do that for you.

There have been Wi-fi based units around, but the major issue with these was getting power to the cameras; with the cabled ones, they draw their power from the base station via the cabling.

The 4 cameras that came with the AllSecure650 2K Wireless Kit use batteries to power them. I am guessing that Swann has been able to do this as battery technology has improved in leaps and bounds over the last little while. I have had these cameras in place now for around 7 weeks now and each camera still has over 60% charge in it which is excellent.

A very clever feature is that Swan actually supplies one extra battery for you and what makes this smart is that the base station containing the recording stuff, also doubles as a charger So this battery sits snugly inside its compartment snoozing away until needed when a camera yells out it is running out of electricities.

You simply swap them over and recharge the unhappy one.

The whole thing was dead simple to set up. Swann supply mounting brackets, screws and rawl plugs too, as well as templates for the drill the holes if you decide to go that way. You can monitor the cameras on an HDMI based screen if you wish – simply plug it in via the cable and choose an HDMI port on your telly you can switch to if needed.

Another option, which I have taken, is to install the Swann app on your phone and use that for 24-hour monitoring, with the app letting you know if the cameras have been triggered. You can then view the scene in real time on your phone no matter where you are, as long as in mobile range of course. And the app can reside on multiple phones too.

So, there you have it. A simple straightforward security system for a price that doesn’t break the bank – and might even reduce your insurance premium – that is simple to setup with little time needed to do so.

And here is a tip; for certain people, usually those on a pension of some description, there is a government AUD$400 rebate available, so maybe this is a good idea for elderly parents or grandparents for example as a Chrissy pressie?

Jus’ saying…

The Swann AllSecure650 2K Wireless Security Kit sells for AUD$1099.with 4 cameras or AUD$899 with 3 cameras. Extra cameras are AUD$269.95. These prices seem to be pretty stable between Bunnings, JB Hi-Fi, Officeworks etc.

The very LAST edition of Australian Videocamera e-Magazine. The end of an era …

… but no, it’s not the end, a new beginning dawns. If you read the editorial on page 3, all is explained in full detail!

In this edition:

  • Has Digital Taken Away the Skill
  • Shooting for the Stars: Astrophotography Explained
  • Tutorial: Manual Shooting and Film Processing
  • Drones: Another Budget Model from DJI

… and much more…

Download the PDF edition here, or click here to access all the back issues as downloadable PDFs.

If you have any questions, please do not hesitate to contact me via


Sport Replays During School Sporting Events

Lake Forest High School, located outside of Chicago, IL, uses the HyperDeck Shuttle HD recorder/player for sports replays during school sporting events.

Steven Douglass, new media instructor at Lake Forest High School, produces live streams for the school’s sporting events, including basketball and volleyball, as well as stage performances throughout the year. Productions exclusively use student talent as crew, from camera operators and announcers to technical directors and support crew, with teachers acting in an advisory capacity only.

Douglass employs a full system of Blackmagic Design cameras and equipment, including multiple Blackmagic Pocket Cinema Camera 4K digital film cameras and Blackmagic URSA Mini Pro 4.6K G2 digital film cameras, giving each production up to eight live cameras as needed. The student technical director uses an ATEM Mini Extreme ISO live production switcher for switching, as well as the HyperDeck Shuttle HD for playback. Shows are live streamed with highlights turned around immediately for social media posting. While the setup is extensive, Douglass is always looking for opportunities to enhance the experience while keeping within a budget.

“Ever since I saw the HyperDeck Shuttle HD at NAB, I wondered how it might help us solve our need for instant replay,” said Douglass. “Most systems cost too much money, but the HyperDeck Shuttle HD appeared, and it seemed to solve our problems.”

While still a traditional HyperDeck broadcast deck with its ability to record and playback using SD cards, UHS-II cards and USB-C external disks, the HyperDeck Shuttle HD is designed as a desktop device, with a large search dial that makes scrolling through footage quick and easy. Incorporating it into Lake Forest High School’s system is simple; the HyperDeck Shuttle HD connects to the ATEM Mini Extreme ISO, which feeds the HyperDeck Shuttle HD a program out signal. A separate monitor connected to the HyperDeck Shuttle HD allows the operator to quickly scroll back for a replay and be ready to feed that footage back into the ATEM Mini Extreme ISO when needed.

“The ability to replay the program feed not only provides a key new tool for our announcing team and audience, but it also creates accountability for the production overall,” noted Douglass. “We tested it out with volleyball, which has minute long timeouts that need to be filled with engaging content beyond shots of the coach talking and the athletes listening. The replay with the HyperDeck Shuttle HD helps us engage the audience during these times and gives the announcers a moment to provide highlights during the pause in action.”

Using the HyperDeck Shuttle HD adds a level of complexity to the student led programs, one that challenges the young announcers and crew. “The downtime during timeouts is a significant challenge to the flow of high school live production,” added Douglass. “If we have slipups from students, who are maybe giving a little too much personal commentary, it’s during this time. With a simple replay system like this we solve that problem and add tremendous value. We still need to get more reps on this, as students without a lot of experience calling games are nervous and worried about what they are saying, so adding playback can be challenging. But we already know the HyperDeck Shuttle HD adds tremendous value for our audience during these high engagement events.”

Cranky? You Betcha!

I will not name or point to the review in question, but reading this tonight, as much as I respect the reviewer and like, and admire the person involved and have known them for many years (and have emailed them privately to transmit my disappointment at their review), it deserves a response.

I just read a review of a tech product that said it was (paraphrased) “perhaps OK for kiddies and seniors”.

Charming. I didn’t realise that as a “senior” (whatever that is anyway – is there a cut off point? I am 66) – that all of a sudden I became unable to understand something? Or that somehow, something perhaps mediocre was “OK”

I am fed up with people either suggesting that a) after a certain age (again whatever that is)  there is an inherent inability to understand technology or b) not accepting that OUR generation invented the stuff we cannot apparently understand!

You know, I was worried about “growing old”. I remember my first published article in the computer industry in PCWorld commissioned by the legendary Jeremy Horey that was a comparison between graphics cards.

I was 31 at the time.

In 2 days I am eligible (apparently) for the pension. Yay me!

But I am still learning and playing with tech, as do many people I know. So don’t DARE patronise my “generation”.

So no. now I do not worry about growing old and not understanding tech. In reality, nothing is really new. Just smaller, faster, more capable and hopefullly cheaper in terms of capability per dollar.

I can, as can many others in this industry I can think of, more than keep up with tech, review it and report on it, no matter we are apparently “seniors”. And many, many older users DO understand this stuff, so please don’t pigeon hole people by their apparent age or some other demographic.

Bah effing humbug. Cranky? You bet.

Shooting for the Stars. An Astrophotography Primer

I thought I’d stay on the photography theme a little while longer and touch on a subject I have been playing with off and on for a while now, and that is astrophotography.

I first approached this at the beginning of the millennium when I still lived on the Northern Beaches of Sydney. I had interviewed someone who as it turned out lived close by and was somewhat famous in this area of photography and videography, Steve Massey.

It Started With a Telescope

This got me all fired up and so I went out and spent serious money on a telescope and a film based Minolta SLR camera, and spent many happy hours shooting images and video of the Moon primarily.

When I moved back to Western Australia and down to the deep forests of the south-west of Western Australia, I upgraded the telescope and also abandoned the Minolta in favour of a Canon 5DS dSLR.

The absolute lack of ambient (and therefore interfering) light was offset by the amount of cloud we used to get, so the actual telescope time was minimal. And then a particularly ridiculous accident I want go into knocked the telescope and its tripod over rendering the focussing mechanism impossible to use.

Shortly after I moved back to civilisation 200Km south of Perth, and with COVID hitting decided to try and revive my damaged telescope.

The spare parts were available, but all things being what they were it took nearly 9 months to actually get them here!

In the interim, I discovered a little gizmo called the MSM, or “Move-Shoot-Move”.

And its brilliant.


A little bit of science is needed here to fully explain what the MSM does and why.

When you first get a telescope, you suddenly became Aacutely aware that the Earth moves through space, and pretty damn quickly at that. It first struck home when I finally managed to get an image of the Moon in the ‘scope that was nice and sharp. I had to go inside for something another – only gone a minute or two – and when I came back out, my image had gone!

Of course, the Earth is ripping through space at something like 500 metres per second or around 1600Km / hour at the equator. Hence the image of the Moon is moving across the field of view of the telescope at the same rate, so you get about a minute depending on the magnification of the telescope.

If you are lucky enough to be able to get, say Jupiter or Saturn in sight AND focus, then you have mere seconds.

But to get decent still shots, which require lots of light, you need more than this, so there is the dilemma.

You can buy mechanisms for telescopes to follow the earth’s rotation and also lock in on celestial objects, but this tends to get very expensive for the hobbyist

So, enter the Move-Shoot-Move (MSM).


msm-polar-aligned-side-v1-2The MSM is a small black box that mounts onto a tripod. There, that was easy.

But there is a lot more to it than that of course. You see, once it is charged up, and via various mounts, a camera attached – either DSLR or Mirrorless – the inbuilt motor rotates so that when you have locked onto a subject in the night sky, it will always stay in place as the camera rotates with the Earth.

You set the camera using either its inbuilt intervalometer or an add on one and set the aperture and ISO accordingly. If all goes well, you get shots like these.


An intervalometer is either an inbuilt function of the camera – and many have it – to tell the shutter to stay open for a specific period of time, beyond the normal 1/500th or 1/20th sec for example. To get shots like shown here, shutter times of up to 10 minutes or more are used.

The smart ones can also be set for multiple shots that are timed and other functions.

2022-12-14_16-26-48If your camera does not possess an internal intervalometer, go to your favourite camera store and ask for an external one that suits your make / model. An example of one I can recommend is the Hahnel Captur Timer Kit from  Leederville Cameras.

And while you can fluke it and get a great shot with a single image, those that are REALLY good at this stuff take many, many images of the subject in order to get as much data as possible, and then using specialist software, much of it free, “stack” these together to create a single composite image.

Polar South

Of course, there is a catch, sort of. You’ll recall when I stated the Earth’s movement rate, I was careful to clarify that this speed is “at the equator”. The Earth rotates at different rates depending on where you are, and so the MSM needs to be calibrated in order to get the exact setting.

In the Northern hemisphere this is relatively easy as they have a celestial body in the sky (where else I suppose?) called the Pole Star which to all intents and purposes is based exactly at True North. By calibrating the MSM, using a laser scope that comes with the system, to the Pole Star, you are good to go.

In the Southern Hemisphere we don’t have that luxury, and while there are ways to do this with methods using other stars, these are relatively complicated. So, there is a far better way, and it has added bonuses too.


2022-12-14_16-24-14I have mentioned the PhotoPills app before in stories, in order to calculate sun and moon rise times and locations in order to get the right positioning and timing to get specific shots.

But another piece of magic PhotoPills does is let you align the MSM quickly and easily to correctly set it for shooting deep space shots and stars. A combination of the inbuilt compass and a virtual reality overlay, with your smartphone attached via a mount to your MSM, lets you align perfectly to Polar South by simply lining up cross hairs to a central target.

With that done, you can then mount your camera, adjust the appropriate settings for aperture, ISO and the intervalometer and you are good to go.

In theory.

Final Tips

2022-12-15_15-21-30Of course, to get the perfect shot takes lots of practice and patience. I’d recommend a few things to make life easier.

  1. Initially don’t be too ambitious. Just get some shots to get a feel for what you are doing and learn what settings may be best. And make notes, or better, shoot RAW so the camera settings are embedded into the meta of each image
  2. To learn where planets, stars, constellations, asteroids, meteor showers and other stuff up there are, download a copy of the free program Stellarium for your PC, Mac, tablet whatever. It is absolutely bulging with information and can also create virtual skies based on locations and times.
  3. Get yourself a headband light that has the red-light option. This way, you’ll be able to see what you are doing but not stuff up your night sight.
  4. Use a decent tripod. The one thing you do not want to happen is for your camera to move in any way at all. I use a Miller Solo75 and can highly recommend it.
  5. The MSM is rated to a specific weight so this limits the lens you can use. Even my Canon 5DS with an 80-200mm is too heavy, so these days I use a Fujifilm X-T20 with a 16mm f/2.8 which is pretty close to what it appears the experts in the field use. But even if you have a base camera with a 28mm or something similar, you can still get some breathtaking shots.
  6. Apart from no camera movement (apart from that given by the MSM of course) the other thing that is imperative is focus. You must have your subject in absolutely pinpoint focus. Some cameras allow you to zoom into the image on the LCD for focussing, so if you have this use it. Otherwise focus to infinity but pull it back just a fraction. Some people place a piece of tape to lock the lens in place once they have that sweet spot worked out.
  7. Learn your camera. Shooting stars and planets etc is NOT the place for “A” for “Automatic!”
  8. Keep away from as much external light splatter as you can. The darker you can get it the better. Avoid streetlights, light from windows, car headlights and even the light of the Moon as much as possible.
  9. Look at as many YouTube tutorials, read as many online articles and so on as you can. There is always something to learn. There are some great tutorials on the MSM web site as a starting point, and you’ll also find some really good YouTube channels you’ll like. I started with this one.
  10. Above all be patient. Hopefully you’ll jag a great shot within your second or third attempts, but if you haven’t, just keep trying as when you do, it’s worth the wait and effort trust me!

Appear launches dedicated solution for digital satellite news gathering in A/NZ

Appear, a leader in media processing and delivery technology, has launched its X10 DSNG, tailor-made solution dedicated to Digital Satellite News Gathering (DSNG), in Australia and New Zealand. Appear is represented in Australia and New Zealand by Magna Systems and Engineering.

The X10 DSNG includes a switch module, with built-in satellite reception and ASI IO ports, that supports encoding and satellite uplink in a single, 1 rack unit (RU) chassis.

With increasing demands for live event coverage, the X10 DSNG is a compact, powerful solution that meets the very specific and challenging needs of DSNG and mobile production.

DSNG vans are often needed in conjunction with outside broadcast (OB) vans to support live production for large events. While fibre connectivity has become more widespread, or associated with live event broadcast, there are still many venues that do not have high-capacity fibre connectivity or require satellite transmission as a backup for fibre – which means DSNG vans still play an important role in contribution.

For DSNG vans, it is vital to have equipment that can deliver content via satellite or IP ports to support the use of satellite and fibre delivery simultaneously. Moreover, DSNG vans are generally small with very limited space. Equipment size and power consumption are important factors when selecting equipment for DSNG operators, and a solution which offers as much functionality as possible is a necessity.

Supporting both fibre and satellite delivery, Appear’s X10 DSNG provides all the functionality DSNG operators need for contribution, including encoding/decoding and satellite uplink/downlink, as well as integrated reception and monitoring of uplinked signals.

With the power to support 1G to 10G of traffic, the X10 DSNG features:

  • 1 x switch module with dual 1G IP IO ports, satellite demodulator and 2 ASI IO ports
  • 1 x encoder module
  • 1 x satellite modulator module
  • 1 x decoder module

Typically, this level of functionality is needed in multiple RUs. The compact, power efficient X10 DSNG offers:

  • Multiple channel support: Operators can flexibly define the number of channels to be encoded and decoded, plus the number of satellite modulated outputs needed. It can support encoding of 32 HD or 8 UHD channels with 4 HD or 2 UHD channels of decoding (for monitoring), while uplinking to one or two satellite transponders.
  • High-capacity streams: The X10 DSNG can support 250 streams ensuring it meets contribution needs.
  • Compression standards support: Common compression technologies and video protocols are supported, which makes the X10 DSNG adaptable to all operational requirements within contribution, remote production, video networking and distribution. With the modular nature of the X10 DSNG, additional compression standards can be supported through adding JPEG XS and JPEG2000 features.
  • Built-in redundancy: The X10 DSNG is designed to be as reliable and failsafe as possible, even when used stand-alone, thanks to its integrated modulator redundancy switch. Should an internal failure take place, a range of redundancy options can take effect to keep the chassis fully operational.
  • IP network security: The X10 DSNG has a high-capacity firewall feature that can monitor and regenerate traffic as required.
  • Future proof video protocols: Not only does the X10 DSNG have the ability to handle all commonly used video protocols, but the programmable hardware also means that it can support new standards as and when they are defined.  

Over the past year market in A/NZ has seen more remote productions and large-scale events take place than ever, which has thrust OB and DSNG into the spotlight and put more demands on operators.

DSNG has an important role to play and the X10 DSNG not only supports fibre and satellite, but with built-in security, redundancy and support for an array of compression technologies and protocols, it is a comprehensive, powerful solution that meets operators needs today and will continue to support them for years to come.

For more information go to:

Panasonic Connect Introduces the New PTZ Camera “AW-UE160W/K”

Panasonic Connect Co., Ltd. has announced that in the first quarter of CY2023, Panasonic Connect Co., Ltd. will release the AW-UE160W/K, a next-generation 4K integrated camera that achieves both high-quality shooting and video production efficiency, for customers involved in the broadcasting industry and the entertainment industry such as and live events, as well as video production.

This will be the new flagship model that pursues more unique and new visual expression by combining the flexibility of a PTZ Camera that can be freely set in position and angle with the functionality of a System Camera used in the broadcast industry. Panasonic Connect will also release the AW-SFU60, an optional software key to activate SMPTE ST2110 for the AW-UE160 series.

[Development Background]
With hybrid events increasing these days, the expansion of high-capacity and high-speed communications such as 5G, the increase in online communication due to the Covid-19, and the “popularization of video”, it has become possible for anyone to shoot, produce, distribute, and watch in any place, video experience, video content, and the situation surrounding it is changing drastically. Also, the demand for video continues to increase, and the video production industry, including the broadcasting industry, is always required to provide quality that exceeds the expectations of discerning viewers and to provide new video experiences, expressions, and effects that will not bore them with a limited budget. Under such circumstances, the shift to remote video production and operation using IP transmission is also accelerating, and it has become an issue to achieve both ensuring video quality and improving the efficiency of shooting sites.

To solve the on-site challenges in the video content market where such demand continues to expand, AW-UE160W/K is the industry’s first product, which combines the strengths of system cameras and PTZ cameras. It also has the industry’s highest level of shooting performance with unique video effects that can be expressed using a variety of shooting methods and a wealth of new functions provide viewers with new experiences, including immersive images from an unprecedented perspective.

With more than 60 years of experience in this industry, Panasonic Connect always listen to the voice of customers and will continue to innovate the future of video production.


1. Uncompromising shooting performance and operability.

In addition to the high sensitivity of F14 / 2,000 lx 4, equivalent to that of a studio camera, and the latest generation image processing found in LUMIX, the AW-UE160 is equipped with a newly developed phase detection autofocus (PDAF) that enables high-speed focusing and can also be used to shoot fast-moving subjects. The new PTZ is equipped with a variety of features that enable high-precision video production, including a new PTZ mechanism and hybrid image stabilization.

2. Realize next-generation video production with various shooting methods and functions.

The AW-UE160 is the first PTZ camera 2 to support the SMPTE ST2110 3, an IP transmission standard for the broadcasting industry, and wireless transmission with a 5G mobile router (via USB tethering). It also supports return input 5 and a rear tally lamp that can also be lit in yellow, which are essential for combined operation with system cameras. In addition, it is equipped with the cropping zoom function that can output multiple angle video with a single camera and 2x high-speed output (HD) from SDI/HDMI.

3. Ease of use and versatility reduces stress of shooting on-site.

Support for a variety of interfaces and protocols (SMPTE ST2110, Highbandwidth NDI® 6, NDI®|HX 6, SRT, FreeD, RTMP/RTMPS, etc.) reduces the burden of introducing the camera into existing systems. Even if output is performed from multiple video terminals at the same time, there is no restriction on video output, so simulcast operation in 4K is possible. Support for scene files, color matrix control and Panasonic’s free software and Remote Operation Panel (ROP) for batch management of multiple cameras makes mixed operation with system cameras even easier. In addition, the waveform display function and the horizontal level gauge display function reduce the burden of setting up and adjusting the video.

■Main Specifications

Product Name

4K Integrated Camera

Product No.



Pearl White(W) /Black(K)

Image Sensor

1-type (1″) 7 4K MOS×1

Optical Zoom


Horizontal Angle of View Range


Standard Sensitivity

F14/2,000 lx 4

Minimum Illumination

2 lx 8


HLG/BT.2020 support

Image Stabilization

Hybrid method of 2- axis Optical Image Stabilization (O.I.S.)
and roll direction Electrical Image Stabilization (E.I.S.)

Supported Protocols

SMPTE ST2110 3, SRT, High bandwidth NDI® 6, NDI®| HX 6, FreeD, RTMP/RTMPS etc.


12G-SDI, 3G-SDI x 2, HDMI, Optical Fiber 9,
USB3.0 HOST (5G mobile router with USB tethering) 10


G/L IN, XLR pins x 2


LAN terminal (RJ-45), RS-422, SFP+



Controller Supported

AW-RP150, AW-RP60, AW-RM50AG

Remote Operation Panel Supported

AK-HRP1010, AK-HRP1015, AK-HRP250

Dimensions (W x H x D) 11

213.0 mm x 277.0 mm x 240.0 mm (8.39 inches × 10.91 inches × 9.45 inches)

Mass 12

Approx. 4.6 kg (Approx. 10.14lbs)


* This specification is under development and is subject to change at the time of release.
1 As of October 2022.
2 As of October 2022. According to our research.
3 To use the SMPTE ST2110 function, activation with the optional software key AW-SFU60, which is sold separately, is required.
4 When normal mode is selected, F11/2,000 lx.
5 To build a system using the return video function, it is necessary to use the SMPTE ST2110 function.
6 NDI® is a new protocol developed by NewTek, Inc. that supports IP video production workflow. NDI® is a registered trademark of NewTek, Inc. in the United States and other countries. In this instance, NDI® is used to indicate low latency with high bandwidth NDI®, NDI®|HX is used to indicate high efficiency low bandwidth NDI®|HX.
7 Effective size
8 Conditions: F2.8, 59.94p, 50IRE, +42 dB, without accumulation
9 SFP+ standard (Single Fiber). This unit does not support input by optical signals.
10 Compatible with recommended products only.
11 Excluding protrusions, direct ceiling mount bracket.
12 Excluding mount bracket.

So you want to get into manual film shooting and processing? Here’s how to start and what you need.

Some things come at you absolutely left of field and are unexpected. This was one of them.

The other day I wrote a piece about the resurgence of film photography, and I have to say, the response has been phenomenal! So many people wanted to know how to get into it, what you need and what it might cost, as well as the techniques to actually process and print film.

So I decided to write about it. The hard bits first.

The Camera

To actually shoot on film, you need a film camera, right? That goes without saying, however as the starting point for your film journey, it’s not quite as easy is waltzing into your nearest camera shop and plonking down the readies on a new Fujifilm, Canon or Nikon film based SLR say.

Why? Simply because they don’t make ‘em anymore. What they do make are disposal film cameras that are designed to be taken back to them where they rip them apart, process the negatives and then digitally print off the resultant photographs, charging a price for the privilege. And its quite profitable too just quietly.

No, the way to do it says Lachlan from Leederviile Cameras, is to go to a reputable camera dealer, tell them your needs, level of expertise and a price range, and they will be usually be able to suggest a second model they have in stock that has been checked over and / or refurbished.

I would not recommend buying online through eBay or Gumtree in this instance as a film camera is an even more precision piece of equipment than a digital one due to the moving parts necessary for film transport etc.

Reputable brands from my experience include Minolta, Pentax, Olympus and of course the aforementioned Fujifilm, Canon and Nikon.

The model I started with was a Minolta SRT101 (pictured). I have seen a few around the traps in great condition for under AUD$250.

The other thing to be aware of is that not all film cameras are equal. Unlike a digital camera that stores images on an SD card (usually), film cameras of course use film, and the best to get is a camera that is 35mm compatible. But you see, if you didn’t know this, you have ended up with another film size based camera that would make the processing of the film and the printing much harder. These include 110, 120 and even 2 1/4 square.

The next thing to consider is what lens to use on the camera, and you are best guided here again by the dealer says Lachlan. You don’t want to buy a camera that has a lens totally unsuitable for the type of photography you want to do – and this applies equally to dSLR and mirrorless digital cameras too of course.

Film (or Fillum if you like)


A selection of Ilford monochrome film and printing paper

Now that you have the camera sorted, you next need some film. Unlike a digital camera where you set the ISO in the camera, with film, you buy the film that has the ASA rating you need for the job at hand. In case you are wondering, ISO replaced ASA but they are effectively the same thing, the name was changed to represent an international rating.

For everyday outdoors photography ISO/ASA 100 or 200 film will be fine. For sports photography I’d jump to ASA 400. Again, check with your camera dealer as to the best advice for which film based on your shooting circumstances.

There is also the brand of film to choose to consider. At this time, I am concentrating on monochrome (black and white), and to me, over many, many years of usage, I’d recommend Ilford film. Ilford has been around forever and so, despite the downturn in film usage over the “digital era” they survived so they must have something right, yes? Unlike say Kodak, who initially went bust. If you are thinking of colour, I like Fujifilm followed by Agfa by the way.

Again, unlike digital, film can also be bought in different emulsion, colour saturation and gran types. For example, Fujifilm has Provia, Velvia, Astia and Classic Chrome.

In the early days of your film experiences, I would basically ignore these side tracks and get used to shooting and processing film before getting into these finer points.

I’ll skip the nuances of shooting film over digital in this article – that’s for maybe another time. Suffice to say best start learning about aperture, shutter speed, using a light meter, depth of field etc. There ain’t no “A” for Automatic here folks. This is REAL photography!


The next thing then is to get the film processed; in other words, get the exposed film from the inside of the camera into a negative form you can use to make actual pictures.

This process involves chemicals, developing tanks, trays, water baths and a distinct absence of light! The last thing you want is to expose the raw exposed film to ANY light as this will destroy whatever is on the negative post shooting.

Developing Kit

An Ilford/Paterson film developing kit

I was lucky when I started as an 11 year old, as my dad owned a photographic studio and therefore had all the gear necessary. I asked Lachlan at Leederville Cameras what the best way was to get all the bits and bobs you need, and it turns out there are starter kits you can buy put out by companies such as Ilford and Paterson containing all the goodies you need, including comprehensive “How To” instructions for about $180.

In short, you process the film inside a light proof tank using set of chemicals. Once this is done, the film is washed and allowed to dry before the next process.

These kits contain a special light proof bag with hand holes that allow you to remove the film safely from its cannister and get it into the developing tank on a special spiral mechanism.


An EnlargerNow this is normally the real fun part; watching an image slowly appear as you hold your breath and see the results of your work for the very first time. Did I get the framing rate? Is it in focus? Is it light enough. Dark enough? Contrasty enough?

In terms of correct exposure, there are some tricks of the trade you can use that, in name anyway, have moved over to the digital Photoshop world such as Dodge and Burn.

But there is a small catch. In order to do these things in this way, you need to print the photo manually using a piece of equipment called an enlarger. This allows you to expose light through the negative and a lens onto photo sensitive paper. This paper (and it comes in various sizes depending on the size photo you want) is then subjected to a developing fixing and washing and drying process to get the final result.

And the catch? Black and White and Colour enlargers are almost impossible to buy new these days. My research shows they do exist but are usually a special order that can take months to arrive and for an unknown cost at time of purchase, being subject to variances in exchange rates, freight costs and so on.

So, we are back to the second-hand market again, and hopefully, also again, your friendly local dealer will be able to assist and advise accordingly. Brands to look for include Paterson, Durst and Leica units. A quick look at eBay found a few there and they range in price from $150 to just under $1000.

To do darkroom enlarging (yes, we are back to a dark room, but this time you can use a special red light so you can see what you are doing), you’ll also need an area in the dark room for some developing and washing trays and access to running water, plus the ability to string up a line so you can peg your prints to it to dry.

PlustekAnother easier, but nowhere near as fun, option is to get a negative scanner. This is an electronic device that reads your developed negatives and creates a JPG or TIFF file from each image which can later be printed on a good inkjet printer.

I have little experience of these so asked Lachlan at Leederville Cameras and he suggested either Plustek 8100 ($599) or Plustek 8200i ($899) models are the go here.

At least, they are a good starting point, and if you do get the whole manual film processing bug, you can get into the enlarger / printing thing later.


There is a huge satisfaction doing a shoot on film, processing the negatives, and then manually printing the shots. When you get to see that perfect photo gradually at the end of the process, there is no way rummaging a computer folder of hundred of images can compare.

I guarantee it!

Quick and easy just using your smartphone may be, but just as there is no comparison between a microwaved ready meal and a dish you prepared lovingly from scratch, so I don’t think you can beat this basic form of photography to its digital counterpart.

And seriously, it’s not that hard.